This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.

The universe of Parallel Worlds is as much disturbing and scheming than enchanter. Now, imagined when annexed to a quarter of Node! It’s with Dave Bessell (Node) that Bakis Sirros has decided to push the 8th chapter of Parallel Worlds towards even darker and more experimental territories of an abstract EM to colors of a bewitching blackness. Wandering between Arc, Ramp and Redshift, “Morphogenic” is a splendid album of an empirical EM where the latent rhythms explode and implode in surprising structures with fabulously rich colorful tones. The riffs in it are loud and heavy, the ambiences are breathtaking and the rhythms are of fire, moulding superb devilish melodies which dance under intense orchestral sails of synths with musical visions affected by bipolarity.The first riffs of "Oblivion" fall with heaviness and crash. They cut in a glaucous and surrealist ambience where ringings of bottles forming stunning sound hoops moulded the shapes of chants with sordid ghostly winds. The rhythm is heavy and unmoving, fed that he is by the heavy reverberations of riffs which resound and make shake the walls of a parallel universe where metallic stampings are whispering and escaping to form a schemer gallop of which the black and abstract gait is fainting little by little in the limbos of the rustles from beyond the grave. And as the universe of Parallel Worlds is never in lack of resources, an enchanting bed song for imps in glass clogs emerges from this nest of colorful tones to sculpt an irresistible ear worm which is perfectly suitable to the darkest of mephistophelic nightmares. Molded in the same pattern of harmonious unreality, "Above the Snow" extends its breaths of big threatening ocean liner on a river of green mist. The musical envelope is as much sordid as it is melodic with effects of musical slow motions of which the eroded outlines draw of strange reverberating musical effects on a carpet of pulsatory jingles. At first slow and oozing of infernal tones, the rhythm bustles about with hesitation on the curves of a bass line of which the slow nasal oscillations accompany the heavy and loud hammerings of percussions. Strikings which pierce the opacity of a dense movement soaked of metallic radioactivities which dance under the thick morphic veils of an apocalyptic synth. These morphic veils which give a poetic cachet to this other dark work of Parallel Worlds made the charms of the grimy "Disorder" which is caressed by the brief intrusions of a piano that is looking for its road of harmonies in a somber universe of paranormal musical activities. And if you think that I exaggerate, you have to hear "Inwards" to know of what is made “Morphogenic”. This track of ghostly atmospheres is to be disadvised if we swim fully in a black night where the whispers feed the walls of a horrifying color of flesh. See? Welcome to the inner dark world of “Morphogenic”.After an intro borrowed from the glaucous atmospheres of "Above the Snow", "Denormal" struggles between an unchanging rhythm and its metaphysical ambiences. Occult pulsations shape a feudal rhythm which resounds under the lines of a synth to dark voices. A strange harmony is taking shape behind this cabalistic pattern where the disordered pulsations cogitate with of tremulous strikings of anorexic percussions which get lost under the burning laments and riffs of a guitar violent à laRobert Fripp, pushing the musical dialogue of "Denormal" in the most somber hidden recesses of its incomprehensibility; there where the rhythm and moods are switching skins to become more black and incisive. The ambiences of "Corruption" are feeding on the philosophy of "Denormal" but with a sharply more experimental approach where Redshift and Ramp tear each other to pieces into implosives lavas. One can't be closer of the deep darkness and anti-music than with "Corruption", and this even if residues of harmonies are floating there. The intro of "Heterodyne" brings us in the gaps of a monasterial universe where the heavy and unsteady reverberations get confused into the murky lamentations of possessed soul. The rhythm is awakened by fragmentary approaches. Built on palpitations which stamp of a virgin nervousness, it lives and dies under diverse forms. Being cuddle by synths with lines subdivided in their hollow and honeyed approaches, it beats of an uncertain measure and prays for an ambient passage before running again on this unstable musical area that is "Heterodyne". "Submerge" closes the storm with a powerful immersive title where the rhythm is slow and molded in of dense orchestrations of a synth which interlace its divinatory harmonies and its spectral ambiences in a bewitching cocktail of shady emotions. It’s very beautiful, intensely melancholic and it concludes marvellously this attractive odyssey into the mysterious universe of Bakis Sirros' supernatural phantasmagoria.There are no doubts in my mind; “Morphogenic” is the best work of Parallel Worlds. It's an intense album where black feelings feast in parallel emotions. It’s exactly the diapason of Bakis Sirros but with a much more theatrical, even cinematographic, approach. It’s like inventing a new horror movie in each new listening. It’s black. Very black! But it’s beautiful. It’s very beautiful. In fact, we cannot turn out the ear on an album which allies the sibylline rhythms of Redshift and Arc, the audacity of Ramp and the unbearable world of sound experiments of Parallel Worlds. Not to listen to if we are afraid of the dark …Sylvain Lupari (October 17th
2012)Cet article est
disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur
sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15591*If you want to know more about Parallel Worlds, you can visit
his website here:http://www.parallel-worlds-music.com/

Members of this Blog

Qui suis-je

Hello
I wrote reviews, comments and made interviews on Internet about EM for years. I can be read on Guts of Darkness (Phaedream), where I wrote in French. I translated my reviews in English whom are published on many Internet webzines. If my English seems incorrect to you, or my words seem out of place, please be kind to let me know in order to improve my English.
I live in Joliette, in the heart of La Belle Province de Québec, in Canada and I’m a music fanatic, especially EM. But not any kind; sequenced, dark, progressive and ambient à la Berlin School style! I fell for this music at the end of 70’s, having seen Tangerine Dream at La Place des Arts in April, 77. From then on I discovered Synergy, Jean Michel Jarre, Vangelis, Klaus Schulze and Kitaro (his first albums are magnificent).
Since then, EM changed his face with the emergence of new names in the 80’s and 90’s (Mark Shreeve, Ian Boddy, David Wright and other England assets. Ron Boots, Gert Emmens, Remy and other Netherlands talents) to subdivide the Berlin School into England and Dutch School. And the early 2000 saw the appearance of Polish artists to multiply the creation and hold EM alive and kicking.